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Some may find this film boring. And while the runtime does drag on a few times during the course of the movie, I didn't find it as lacklustre as I thought it might be. This is mostly due to the two great lead performances by Ralph Fiennes and Juliette Binoche, reunited after almost thirty years (Their last picture together was the Oscar-winning film The English Patient in 1996).

I'm not at all familiar with Greek myths, as there are so many of them, it's hard to keep track. But this particular story focuses solely on the last part of Odysseus's story, when he is washed up, broken, scarred and a shadow of his former self after the war of Troy. His wife Penelope, who has been pressured by annoying, leery men into marrying them, cannot recognise her husband. Not necessarily because he looks physically different, but because of the atrocities he committed while he was away. And the question of whether the sacrifices his homeland made was worth it for war.

It focuses on the timeless story of men returning back home from the horrors of warfare, only to find that their home no longer wants them, and they cannot escape their soldier's life. Such is the situation for many veterans suffering from PTSD.

But it also offers a glimmer of hope to start again. And I have no problem with quieter movies as long as they offer good themes and realistic characterizations. We don't always need CGI monsters and big battles to keep us hooked.

While watching the trailers for Gladiator II, this film was teased. That was certainly the best part of the Gladiator II experience. What I was expecting to see from the teaser was not what I experienced, and that was wonderful. I was expecting, simply, a modern play of the third act of the Odyssey with some great modern actors. Instead, I was treated to a thought-provoking exploration of many difficult topics involved in the human experience. They just so happened to find their home in Odysseus's return home at the end of the Odyssey. This film comes across as a passion project of the lead actor and producer. I would love to look into the story of the making and funding of this project. This movie was not at all what I was expecting but found it to be a real treat and left me and my viewing companion discussing the different themes and meanings. The cinematography is where this film shines.

This screen adaption of the Odyssey - or rather just the part of it - is a modern take and is rather good.

Both Ralph Fiennes and Juliette Binoche are excellent, as is to be expected, and they are supported by a good cast. Charlie Plummer, in the role of Odysseus and Penelope's son, is equally good.

What stands out most from this short and low budget film is how good it is: Fiennes portrays Odysseus with PTSD with utter believability, and it makes you wonder (though you already know) what really happened to his men after the war.

The fights are also well choreographed, without many of the quick edits that hide an actor's lack of skill. In fact, Fiennes is so fit that that even the edited actions (with the bow) are believable. I wouldn't be surprised if he really did learn how to use it.

Even if you've never read the Iliad or the Odyssey, watching this movie might pique your interest in these classics.

"The Return" offered a deeply human perspective on the timeless tale of Odysseus, blending the epic grandeur of Greek mythology with a raw, emotional core.

This 2024 adaptation breathed new life into Homer's Iliad, focusing on one of its most iconic narratives-Odysseus' long-awaited return to Ithaca following the Trojan War.

What set this film apart was its decision to strip away the traditional heroism that's often associated with Odysseus. Instead, I saw a man burdened by guilt, exhaustion, and the scars of war-more flawed and vulnerable than the larger-than-life figure of legend.

This Odysseus was not the triumphant warrior of old but a soul-weary traveller grappling with the weight of his past and the uncertainty of his future.

The story unfolded against a backdrop of simmering tension in Ithaca. Penelope, Odysseus' wife, was trapped in a precarious position, besieged by suitors vying for her hand and the throne.

Her portrayal as a "prisoner of peace" added layers of complexity to the narrative, highlighting the struggles of a woman navigating a world dominated by men.

Meanwhile, their son Telemachus faced his own danger caught in the island's web of political peril-a nod to the brutal logic of ancient Greek storytelling, which has since resonated across cultures and time.

The film's emotional depth was elevated by its stellar cast. Ralph Fiennes and Juliette Binoche reunited on screen and delivered powerhouse performances as Odysseus and Penelope (resp.).

Their realistic chemistry captured the fraught dynamic of a couple separated by decades of war and longing.

The love they once shared had faded, replaced by misunderstanding and resentment, but their journey of reconnection felt achingly real.

Fiennes embodied Odysseus' internal conflict with quiet intensity, while Binoche brought a steely resilience to Penelope, making their scenes together quite compelling.

"The Return" was not a film driven by action or spectacle. It was a slow-burn character study, rich in atmosphere and emotion.

The pacing felt deliberate, but it served the story well, allowing me to empathise with the characters' struggles.

The tension built steadily, culminating in a climactic finale that delivered both emotional and narrative payoff.

What made "The Return" truly remarkable was its ability to feel both ancient and modern. While it stayed true to the spirit of the original epic, it also explored themes of trauma, identity, and redemption that will resonate with contemporary viewers.

Watching this movie felt like peering through a time-travel window, and the emotions the script evoked felt timeless. Instead of serving the role of a flashy blockbuster, "The Return" stood out as a poignant and thought-provoking piece of cinema.

The film continues to linger in my mind, a testament to the enduring power of Odysseus' story. If you're looking for a fresh take on a classic tale, this is one ship worth boarding.

--- --- --- Laudable contributions from Charlie Plummer (as Telemachus), Marwan Kenzari (as Antinous), Claudio Santamaria (as Eumaes), Tom Rhys Harries (as Pisander), Amir Wilson (as Philetius), and Jaz Hutchins (as Hippotas).

While some have complained of the lack of action and slow progress, I though Ralph Fiennes and Juliette Binoche did a wonderful job of portraying an older couple grappling with distance and war.

Ralph Fiennes embodied a man exhausted from both war and his return. He returns from a lengthy war only to be welcomed back by another one in his own home. He's a man ready to live a peaceful life but with a whole new enemy at his gates that he doesn't want and isn't ready to face.

His wife had been ever faithful and longing but you can see the hope dwindling from her eyes as each day passes. Her fear for her son has filled him with resentment as he struggles with his own identity.

It's only when they're all together again at the end that we wish to see their joy at being reunited. Instead we're met with anger, resentment, and exhaustion.

While not the ending audiences would've wanted, it portrays a realistic look at what a family torn apart by war experiences upon the soldiers return. Ralph Fiennes and Juliette Binoche exceed expectations as Odysseus and Penelope, capturing the emotions of a war torn couple with elegance and finesse.

The final acts of greatest poem of titan of literature cinematicly is more then good. This time Homer embodyment looks great in a sense director brings it. Thanks to the greats -Ralph and Julia whose personifications of Penelope and Odissey are of magnificent power. You can feel and touch the pain and lost both of them -Odissey not being able to come home due to God's will, so tired and not sure of everything and Penelope keeping faith and hardly understanding world of men's desire dominate at any cost. Clasic antic literature so powerful. The brutal killing scenes reveals to us that not much has changed....

This is one of those great epic stories that could have been a fantastic film instead of this terrible script and horrible directing.

Luckily the island of Corfu keeps you enjoying the beautiful scenery so go in with low expectations and remember it's been 20 years since Ralph Fiennes disappeared from the island.

The only reason to watch it is Ralph Fiennes who puts a phenomenal effort into building his body to look like a real warrior and he still has the A star acting chops.

Juliette Binoche does her best yet her costumes are pathetic and look like a Flash Gordon costume and the make up artist makes her look like she is in a play rather than a film.

The supporting cast is a terrible mistake of mostly b level clowns that have either bad English modern accents or 20 something gen x that are way too clean and boring to live in a supposed Greek world.

The son played by Plummer is a decent actor yet comes across as an imbecile except in the 3rd act suddenly out of the blue the director turns the father/ son team into a Tarantino Caligula kill fest that is almost laughable.

Spoiler The funniest part is the kill area is cleaned of all blood including the pathetic son - but mysteriously somehow Fiennes remains all bloody and stays in character. It is so disjointed that it makes the scene feel mostly like a comedic play.

The director unfortunately creates a b movie with 2 stellar actors and the Greek village looks like a student film with a motley crew of extras that appear to be from some North African country rather than local Greeks.

It almost appears that the DEI office in hollyweird stipulated that half the crew must be from outside of Greece.

At least the movie Troy got the casting right but this one is a joke so enjoy the comedy show esp the blonde actor with a crew cut. And almost all of the actors look like they play video games and never once lived outside in the Sun or lifted a sword contrasted with Ealph Fiennes that looks like he was cast in a completely different movie.

The slow pace is not worth the wait even with Ralph Fiennes brilliant acting and the only saving grace is that you get to watch him shoot arrows into these pathetic lame actors.

The Return deserves a better script, casting and director and it's a shame to see Ralph Fiennes talent wasted - but he deserves an Oscar nomination for his efforts.

5 stars for Ralph Fiennes.

One of the great works of Western Literature, Homer's THE ODYSSEY has been told on film many times in many ways. It tells the story of Odysseus's attempt to get back home to Ithaca after the Trojan War. He is beset with obstacles from the beginning in the form of monsters, a sorceress, sirens, lotus eaters, cannibals, etc. The previous versions of this story have focused on the spectacular and sensational elements, most notably 1954's ULYSSES starring Kirk Douglas. (For that film Odysseus was rechristened Ulysses for some unknown reason.) This version is different in that it focuses on the human elements of the story when Odysseus finally returns to Ithaca after 10 hard-fought years, only to find his kingdom in severe decline and his wife at the mercy of hoodlum men trying to marry her to get her money and the kingdom because everyone thinks Odysseus is dead. They are threatening to take her and Ithaca by force if she does not choose one of them for a husband. After 10 years, Odysseus is unrecognizable and needs to assess the situation before planning his strategy to get rid of these vile men who are bleeding his land, and to take his rightful place as king. He disguises himself as a tramp until he can reveal himself and take action.

This is not a film laden with CGI special effects and aimed at teenage boys; it is aimed at intelligent adults with adult emotions and rationality. The literate script by the late Edward Bond, John Collee, and Uberto Pasolini is a joy to hear, especially when spoken by first-rate actors. But a great deal of the film has no dialogue at all. The actors do a lot with "sub-text," especially the brilliant Juliette Binoche as Penelope. She gives a fine, complex performance. Ralph Fiennes gives the best performance I've seen him give to date. Mr. Pasolini is also the director of the film and he does a fine job of keeping it focused and suspenseful. Cinematography is by Marius Panduru, who is aided wonderfully by the gorgeous locales on the island of Corfu. Effective and unintrusive musical score is by Oscar winner Rachel Portman.

In case such things bother you, I will warn you that the film has a lot of blood and violence, and some nudity (including a lengthy full Monty by Mr. Fiennes fairly early in the film).

I'm so grateful to the producers for having the courage to make a film aimed at intelligent adults. I hope it gets enough audience support to encourage others to do the same.

Homer's epic poem The Odyssey is the inspiration behind hundreds of works. First published around the 7th or 8th century BC, and first translated into English in the 16th century, its impact is incalculable. From novels, like James Joyce's 'Ulysses', to operas, such as Claudio Monteverdi's 'Il ritorno d'Ulisse in patria,' its influence can be seen in all forms of media. There have even been some notable films based on the epic poem, such as Giuseppe de Liguoro's 1911 'L'Odissea', Theo Angelopoulos's 'Ulysses' Gaze,' and even The Coen Brothers' 'O Brother, Where Art Thou?'

Uberto Pasolini is the most recent to try his hand at an Odyssey adaptation, with 2024's 'The Return.' His film- based on the latter half of Homer's 24-chapter epic- follows a battle-weary Odysseus as he washes ashore on Ithaca. Unrecognizable as the mighty warrior-king that left decades before, his dominion has fallen into decay and debauchery. As his wife Penelope is forced to choose a new suitor, and by extension a new king, Odysseus must navigate a land that no longer recognizes him, battling both external foes and his own inner demons.

Although by no means awful, Pasolini's film is fraught with issues. While the narrative is engaging, the dialogue throughout is unnaturally stilted. Moreover, the whole affair lacks momentum and tension. Further, numerous secondary characters are badly miscast, negatively affecting the film's impact. However, through their depiction of the film's central character, the screenwriters make an interesting point about trauma. Their version of Odysseus is suffering terribly, laboured by survivor's guilt and posttraumatic stress disorder (PTSD) after his time battling in the Trojan War.

Pasolini, alongside screenwriters John Collee and Edward Bond, seem to be drawing from psychiatrist Jonathan Shay's two books, 'Achilles in Vietnam: Combat Trauma and the Undoing of Character' and 'Odysseus in America: Combat Trauma and the Trials of Homecoming' in their portrayal of Odysseus as suffering from PTSD and moral injury. This modern interpretation adds a layer of psychological realism to the film, highlighting the timeless nature of war's impact on the human psyche.

By depicting Odysseus' struggles with PTSD, survivor's guilt and moral injury, the film not only stays true to the emotional depth of Homer's original work but also resonates with contemporary audiences familiar with the challenges faced by veterans. This approach allows Pasolini's film bridge the gap between ancient myth and modern reality, making Odysseus's journey both relatable and poignant.

While this is an interesting interpretation of the central character, others lack the same level of depth, and the whole screenplay feels oddly lacking, with an uneven pace that saps it of momentum. The film is full of brooding silences, which- more often than not- seem unnecessarily drawn out. Conversely, it lacks not for visual splendour. Cinematographer Marius Panduru captures the stark beauty of the landscape, emphasising its power. Although beautiful, everything on the island- from the trees to Odysseus' castle- is cold, mean, unforgiving.

Giuliano Pannuti's minimalistic production design helps ground the story, looking authentic and gritty, while Rachel Portman's subtle score compounds the drama of proceedings. Conversely, the costumes look like rejects from Zach Snyder's '300' and many secondary characters look and sound far too contemporary to be taken seriously; more like frat boys than Ancient Greeks.

However, at its heart, the film has one element that makes it worthwhile: Ralph Fiennes. One of the all-time greats, Fiennes embodies Odysseus' underlying trauma with subtlety and nuance. You can see the weight of his experiences bearing down on his shoulders, the pain of survivor's guilt. Fiennes demonstrates that vulnerability masterfully, conveying both the physical and emotional struggles of Odysseus with aplomb, while elevating the whole film around him (and, frankly, making it watchable).

Unfortunately, his supporting cast aren't up to his level, or don't get a chance to be. Juliette Binoche is completely underused in the underwritten part of Penelope, though does a lot with very little. Charlie Plummer doesn't seem at ease playing their son Telemachus, and is swallowed up by the role. Marwan Kenzari, meanwhile, deserved more to play with in an all-too-small role as one of Penelope's suitors; the same can be said for Claudio Santamaria as Odysseus' accomplice, Swineherd Eumaeus.

Ángela Molina also does nice work as Odysseus's old nursemaid, Eurycleia, although is similarly underused. On the other hand, the men of Ithaca are played by young lads completely out of their depth, who were clearly cast because of their muscles and not acting ability, of which they have none.

In conclusion, Uberto Pasolini's 'The Return' may look great, though is lacking in many areas. While Ralph Fiennes delivers a powerful performance as Odysseus, the film struggles with stilted dialogue, miscast secondary characters and an uneven pace. Despite its striking cinematography and attempts to add psychological depth to the narrative, it doesn't reach its full potential. Unfortunately, 'The Return' isn't one that you'll want to go back to.

The Odyssey has been adapted many times, often focusing on the fantasy and adventure elements of Odysseus' journey. This is not one of those. Starting off when Odysseus lands home on his native island kingdom, the film deals with Odysseus' inner journey of wrestling with his guilt, anxiety, PTSD, and longing to reconnect with his family after being away for 20 years. Fiennes and Binoche are superb individually and enthralling when together on the screen. Watch for their eyes, so much is said with them alone. Don't believe the low ratings, this is a fine adaptation of the deeper and human parts of The Odyssey. Not for those expecting a fast action flick.

Yes, it's a bit slow for modern audiences brought up an silly action movies and mindless Marvel superhero claptrap, as we can see from many of the reviews. It's a film you must invest yourself in, be patient with, and you will be well rewarded in the end. It's also loyal to the original epic story and shows the rough beauty of Greece. The two lead actors were excellent, but for me the strongest actor was the great Angela Molina as Odysseus' wetnurse. I haven't seen her since That Obscure Object of Desire by the great Bunuel. She gives great strength and depth to the film and I can't imagine it without her. She is quite old but astonishingly beautiful still.

Beautiful film, highly recommended, both for a quiet Sunday afternoon film and for a savoury film-club night.

We have a great performance from Ralph Fiennes and Juliette Binoche, and Charlie Plummer also deserves credit.

The cinematography and plot are well managed. Director Uberto Pasolini aims to humanize Odysseus, presenting the audience with a different version of the story-one where the hero must confront the limits of his own humanity.

I just want to add one more thought, a reflection for everyone who watches it: we already have a lack of heroes nowadays, so is this really the right time in history to dismantle the heroes of the past?

I have mixed feelings about this film. Taken in isolation, it is a good film, reflecting on the return of a man who has been away from home for man years fighting a foreign war. Ralph Fiennes plays Odysseus, returning to his island kingdom of Ithaca after almost 20 years away. The war and bloodshed has changed him, and he fears that his home and family will reject him, or the person that he has become. Added to this are a group of "reckless suiters" who seeks to replace him as king by marrying his "widow".

As a study of PTSD and the struggle of the returning warrior (especially missing the childhood of his son), it is a fine film. It feels gritty and realistic. Odysseus' pain is palpable, and the struggles of his family during is absence are sharply portrayed.

But having read the saga by Homer (and being a fan of the 1992 mini-series with Armand Assante), I have some issues.

The ancient Greeks considered war, especially single combat, an art form. The Gods were very hands-on when it came to dealing with mortals. They stop Odysseus from returning home for ten years as punishment for his hubris. At its core, the Odyssey is about the Great Love that Odysseus and Penelope have for each other, and his unrelenting determination to get home, despite all the obstacles put in his way (ultimately costing all his crew their lives, which seems a little unfair).

This film discards those central themes for their opposites; Odysseus keeps himself away due to his fears and trauma, and whether there is any remaining love between him and his wife is now the central question.

As a result, I struggle to rate this film. It is sombre, ofttimes slow, yet finely acted and shot.

As a fan of Odysseus I do not have much to say on the story line. It followed the end of the Odysseus story from the point he returns to Ithaca. From the story point it seemed to drag at points and overall wasn't attention grabbing. The biggest issue I had was that this movie was made in 2024 and released in theaters, yet it was filmed like a B movie from the 80's and the action scenes left a lot to be desired. To not spoil anything I will not be to specific. There is one fight scene that I was looking forward to and it was a huge disappointment, I'd understand if the movie was pg13, but for a movie that is rated R they could have done better.

I have just finished watching the film and unfortunately it didn't live up to my expectations. First of all I know that modern productions need a huge budget but if you decide to make a film you should hire more people to show that the island had a population and the palace had servants. As for the palace...it was a ruin. Let's not forget that it was the palace of a kingdom of that period and not a hut. Also the costumes were a joke. Modern haircut for the suitors awful clothes for the Queen and lack of clothes for the rest...Most importantly the dialogues were non existent. Too much staring at each other in order to show Odyssey's PTSD and mental struggles making the plot look like a Swiss cheese..full of holes. Fiennes is a wonderful actor who did his best to save the film. He even spoke with his own eyes tied to tell the story that the screenwriters didn't write..but as a film isn't one man show..the movie was doomed to fail. It's a pity.

Finally a film about ancient Greece that makes sense. Dep[icting, the final chapters of Odyssey, this realistic view of how Odysseus and Penelope would look like at their respective ages and how would all these years of war and suffering affect odysseus' psyche stands as a Great example of how to film such a topic in a non-hollywood style. From the custome designs where everyone is wearing shrouds, showing that what Penelope is weaving has a direct usage to the scenery which is also unmistakeably Greek.

The mythological aspect, is hidden from plain sight but its results are there: We see Odysseus look like a frail old man before we see him as the killing war machine he actually is.

Cheap production. One gets the impression that 80% of the budget was spent on the engagement of the two stars, and the rest on everything else. The result is amateurism that is saved from complete ruin by the main actors and a plot that is unfortunately also crippled because it does not rely entirely on the original. A cathartic ending is ruined by unnecessary moralizing. Telemachus is tragically poorly portrayed and even worse acted. The other fifteen actors seem to have been borrowed from the local amateur theater, along with the scenographic props. It's a shame that such a good story is so poorly screened.

Focused on immersing the viewer in the multifactorial pain and suffering of Penelope and Odysseus during Odysseus return home to Ithaca, this treatise felt to explore quite systematically the challenges that many soldiers encounter returning from active duty, including PTSD and other mental health issues, reintegration into their former life with family and society, and flashbacks of memories and pains both endured and inflicted, and the resulting inner change that is irreversible. The Return is powered by a great choice of cast to allow the viewer to experience this rollercoaster that the two key protagonists ride to significant heights, the latter owing to the unique and particular endurance of both Penelope and Odysseus in this difficult time in their lives, and without each other'a support. In fact both are kept quite apart through most of the build up, which only makes the catharsis more powerful in the most intense, thriller-like later part of the otherwise slower-burn film. Fiennes brings his unique style of suffering portrayal to this work - a great extension of his wonderful skillset from his adjacent portrayals of pain and anguish in Spider and The End of the Affair. Binoche is the perfect choice for Penelope as the viewer could somewhat be tricked into feeling and hoping the two will reunite in much the same way as they were close throughout the English Patient, and Pasolini exploits that to build added tension in this work in those whose recall of the English Patient is vivid. This is great and very relevant work that must be experienced!

The Return encompasses Odysseus return to Ithaca after previous adventures on the Odyssey. Odysseus role as soldier is emphasized and a lot of the movie is spent unpacking his grief and trauma as a result of participation in war.

Production has an especially grounded approach, with respectful atmosphere and lighting. There's a surprising number of locations throughout the film, and I thought pacing and continuity were consistent, and well executed. Costuming and makeup are remarkably average by comparison.

I can very well understand a wide variety of critiques aimed at The Return. Due to subject matter one might expect a fantastical, stylized approach - more action, and a quicker pace. For better or worse, just not what this movie is. My biggest critique would be the surrounding cast. While competent, there are zero stand out roles or performances. Luckily this movie focuses on a single character who does a good job of carrying story.

I thought this was especially good movie for Fiennes, and he's rarely off camera. His reluctant hero role may be a bit frustrating, but understandable with his backstory, which is pretty well explored. By the end of the movie, his Odysseus character rises from the ashes to strike several athletic pose, and I'd say Ralph was well cast for his artistic flair in subtle physical acting.

I'd recommend to fans of lead actor and those who have gone out of their way to see every version of the Odyssey. I'd not go in with a ton of expectation, and just let The Return be what it is - unique, grounded take on classic story. 6.5 for me, rounded up to an 7.